Rosalyn Tureck 2

Editorial Reviews
Amazon.com
Ever since a New York Times critic labeled Rosalyn Tureck the "high priestess of Bach," the epithet has stuck. It seems appropriate on several levels at once: not just for the sense of ritual that emerges from Tureck's interpretations--which can give the impression of a medium making contact--but in the cultlike devotion the Chicago-born pianist has inspired over a very long career, beginning as a prodigy in the '30s. Curiously enough, the young Tureck was also an exponent of modern music, and in 1930 actually premiered Léon Thérémin's electronic keyboard in Carnegie Hall. But it's with the music of Bach that Tureck has become inextricably linked, preserving her unique approach to this composer against the tides of fashion as well as the juggernaut of the "historically informed performance" movement--including her conviction of the validity of performing Bach's keyboard works on the piano (in one famous Carnegie Hall concert, she gave the entire Goldberg Variations twice, on harpsichord and then on piano).

The Goldberg Variations may well be the ultimate Tureck touchstone; of the six commercial recordings she's made throughout her career (the most recent was taped in 1997), this account was made in the Abbey Road Studios in 1957 and may well be her most compelling. Despite the tape hiss, the late '50s--when the other recordings here were made as well--are vintage Tureck years. The quintessential vision--with the trademark slow tempos that can make time seem to stand still, the wondrous clarity of line, the deep focus of mind--is all there, as well as Tureck's sparkling, exquisite pointing and amazing independence of hands. It's less surprising than it might seem at first that Tureck's polar opposite, Glenn Gould, prized her interpretations so highly. And while it may come across as too mannered--or even pedantic--to latter-day listeners, Tureck's patience bears fruit in the most inward of the variations and, most impressive, in the aria's return--in her own words, "one of the most sublime moments in all music." The set includes beautifully marbled accounts of the Partita BWV 831 and duets from the Klavierübung, as well as an exuberant realization of the Italian Concerto in F. These are performances to savor over and over. --Thomas May

Tracks:

Applicato In C Major, BWV 994 - Rosalyn Tureck
Chorale: Joy & Peace, BWV 512 - Rosalyn Tureck
Musette In D Major, BWV Anh. 126 - Rosalyn Tureck
Minuet In G Major, BWV Anh. 116 - Rosalyn Tureck
Minuet In G Major, BWV Anh. 115 - Rosalyn Tureck
March In DM Major, BWV Anh. 122 - Rosalyn Tureck
March In E-Flat Major, BWV Anh. 127 - Rosalyn Tureck
Polonaise In F Major, BWV Anh. 117a - Rosalyn Tureck
Invention In C Major, BWV 772a (1723 Version) - Rosalyn Tureck
Invention In C Major, BWV 772 (1720 Version) - Rosalyn Tureck
Fantasia In G Minor, BWV 917 - Rosalyn Tureck
Prelude And Fugue In A Minor, BWV 895: Prelude - Rosalyn Tureck
Prelude And Fugue In A Minor, BWV 895: Fugue - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): I. Prelude - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): II. Sarabande - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): III. Gigue - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Aria - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation I - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation II - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation III - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation IV - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation V - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VI - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VII - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VIII - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation IX - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation X - Rosalyn Tureck
Suite In A Major, BWV 824: I. Allemande - Rosalyn Tureck
Suite In A Major, BWV 824: II. Courante - Rosalyn Tureck
Suite In A Major, BWV 824: III. Gigue - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: I: ( ) - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: II. Andante - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: III. Presto - Rosalyn Tureck

Tracks:

The Art Of The Fugue, BWV 1080: Contrapunctus I - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus III - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus II - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus IV - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus V - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VI in Stile francese - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VII per Augmentationem et Diminutionem - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus X alla Decima - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus IX alla Duodecima - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VIII a 3 - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XI - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIII a 3 inversus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIII a 3 rectus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XII a 4 rectus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XII a 4 inversus - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon in Hypodiapason (Canon alla Ottava) - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon (in Hypodiatessaron) per Augmentationem in Contrario Motu - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon alla Decima in Contrapunto alla Terza - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon alla Duodecima in Contrapunto alla Quinta - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIV (fragment) - Charles Rosen

Customer Reviews:

A sublime sewing Machine.......2000-06-27

In 1960 Rosalyn Tureck published a tutorial KIT for Bach beginners comprising of a book Named "An introduction to the performance of Bach" (Oxford University Press) and a set of corresponding LP's (EMI ALP 1747).
Later in the 80's she recorded those peices again and here they are whitout any reference (cover, inlay notes etc..) to the original project.
The selections originate from the Wilhelem Freideman book (WF) , the Anna Magdelena and other sources. The WF book was Bach own perception on tutorial kit, assigned to his son. The First track, the Applicato, is Bach only survivng peice with full fingering. The performances are very didactic, note the 2 performances of the first invention with\without the triplets.
Also, The Rosen recording is worth to be published as a separate recording.

Bach By Two Of The Best.......2000-01-23

If is quite fashionable to fall all over Tureck's Bach these days, and to an extent such falling is justified (not always, though). Here the praise is very much justified. Her program consists of The Italian Concerto and various minuets, inventions and suites. They are well suited to her measured, contemplative style of playing. For me, this is some of her best work on disc.

The second disc is Charles Rosen's Art of the Fugue. Rosen is somewhat forgotten today, but in the late 60's and early 70's he produced an outstanding set of Beethoven's late sonatas and a wonderful Goldberg Variations. This effort in The Art of the Fugue confirms my opinion of him as being first rate in Bach. Much like Jeno Jando, Rosen is very direct and straightforward, with brisk tempos throughout...and in great contrast on Tureck's measured, contemplative style.

Tracks:

Partita No.1, B Flat, BWV 825: Prld
Partita No.1, B Flat, BWV 825: Allamande
Partita No.1, B Flat, BWV 825: Courante
Partita No.1, B Flat, BWV 825: Sarabande
Partita No.1, B Flat, BWV 825: Menuet 1&2
Partita No.1, B Flat, BWV 825: Gigue
Partia No.2, c, BWV 826: Snif
Partia No.2, c, BWV 826: Allamande
Partia No.2, c, BWV 826: Courante
Partia No.2, c, BWV 826: Sarabande
Partia No.2, c, BWV 826: Rondeau
Partia No.2, c, BWV 826: Capriccio
Partita No.6, e, BWV 830: Tocata
Partita No.6, e, BWV 830: Allamande
Partita No.6, e, BWV 830: Courante
Partita No.6, e, BWV 830: Air
Partita No.6, e, BWV 830: Sarabande
Partita No.6, e, BWV 830: Tempo di Gavotta
Partita No.6, e, BWV 830: Gigue

Amazon.com

Recorded live at private concerts in William F. Buckley's home, these superb performances show Rosalyn Tureck's virtues at their most incandescent: her pinpointed voice-leading, ultra-independent fingers, and ability to project a wide array of color with very little pedal. One can listen to these readings over and over again without hearing the same thing twice. --Jed Distler

Customer Reviews:

Desert Island Disc.......2007-06-26

Rosalyn Tureck makes such a compelling case for this music to be played on the piano. She devoted herself to performing Bach's music, and completely re-vamped her technique once she made the decision to specialize in his music. She has an extraordinary touch, and the music comes alive in her hands.

I agree with the other reviewer who prefers this recording to the one offered in the Great Pianists series. These recordings seem to have been made in her home to a small audience of friends and admirers. We share in their enthusiastic support and applause at the end of the disc. I regard the intimacy and home-made quality of the recording as an advantage. The recorded sound is not at all a distraction.

For a modern recording with peerless sound quality, the offering by Andrew Rangell had almost as much of a musical impact on me and is certainly worth a listen. Martha Argerich also delivers a tour-de-force performance of the 2nd Partita (also worth owning). This recording, however, remains my standard for these pieces.

Sublime distinction, high caliber tune, unequaled expression!.......2006-07-17

When Rosalyn Tureck plays Bach, you are be invited to an overwhelming event because of the fact, her musical imagination, unique sound and exalting pianism makes of her stylized Bach a true cosmic experience.

Her performance of the Partita No.1 is absolutely revealing. Most of pianists play it with extreme tenderness, but she does it so organically, producing a natural sound and at the same time, loaded of profundity and no time noblesse, as she was exploring new universes.

Has there been any performer capable to play better than her the Partita No. 2 ? Please, be my guest in case you find about any other.

Her austerity is far to be synonymous of coldness, thereby you may listen a prodigious, ethereal and even mystic Bach with such pureness and genuineness as probably you have not listened before.

This is one of the finest historical documents in the whole story of the disc, without a bit of exaggeration or even hesitation.

Acquire it as soon as possible, and you will agree with me these are wonderful treasures, that waited so long for you to be part of your collection.

Wonderful Bach!.......2005-04-03

This CD contains the Bach keyboard Partitas 1,2 and 6. Rosalyn Tureck's performances are marvelous. The recording quality is very immediate and, I think, adds to the beauty of her playing in a way that doesn't come through in her mono recording of the entire set of the six keyboard Partitas on Philips. Her playing is full of dynamic contrast, warm, vivid, and she brings out the part writing in a way that no one else does.

Strongest possible recommendation!!

Average customer rating:

Did you ever see a dream walking?
The Standard for Bach

Bach: The Great Solo Works, Vol. 2

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Rosalyn Tureck plays Bach: The Great Solo Works
Rosalyn Tureck plays Bach
Bach: Goldberg Variations
Johann Sebastian Bach: Goldberg Variations (CD plus score) - Rosalyn Tureck
J.S. Bach: Well Tempered Clavier (Complete) [Germany]

ASIN: B000003LJL
Release Date: 1995-01-31

Tracks:

Prelude
Fugue
Prelude
Fugue
Prelude
Fugue
Prelude
Fugue
Prelude
Fugue
Courante
Sarabande
Gavotte 1 And 2
Gigue
Adagio
Allegro (Thema)
Andante
Allegro
Andante
Presto

Customer Reviews:

Did you ever see a dream walking?.......2006-07-18

November 24 1979. Rosalyn Tureck is in the eve to play this inspiring performances at William F. Buckley' s home as part of a surprise present.

None of the invited could imagine such present would become in one the most gratifying life experiences for all of them. Thanks to the infinite kindness of this marriage we could become exception witnesses of such magisterial recital.

In case you acquire this superb CD, you may boast you have the best version of the English Suite No. 3 ever recorded.

It will always be a rewarding experience to listen Madame Tureck playing Bach. She possesses that touch of genius, every time her splendid fingers produce such eloquent and pure sound. It's like she played the harpsichord, there is a minimum use of the pedal and an infinite spirit of grandness and solemnity around these works she knows so well.

You should not miss this treasures recordings that reflect a sidereal Bach. Perfection, conviction, expression, temperament, musicality and eloquence: that is in just few words, the essence of the musical genius of this Goddess of the piano.

The Standard for Bach.......2005-04-03

This CD contains four of the Preludes and Fugues from the Well Tempered Clavier, Books I and II; The English Suite #3 in G Minor, BWV 808; the Sonata in D Minor, BWV 964; and the Italian Concerto.

The English Suite #3 is staggering, the most electrifying performance I've ever heard of this wonderful piece: By comparison, Angela Hewitt, in her complete set of the English Suites, seems almost perfunctory. Murray Perahia's performance (on Sony) is very good. Unfortunately, this is the only one of the six English Suites that Tureck recorded that I know of. Sensational. In the Italian Concerto, it is a tossup between Tureck's performance here, and her performance in the double CD on Sony with Charles Rosen playing the Art of the Fugue as to which is better. The excerpts from the Well Tempered Clavier tempt one to want to hear Tureck in the complete WTC. (I bought her complete set on BBC after hearing much of Book II; it is wonderful.) The Sonata in D Minor, BWV 964 is good.

Tureck's Bach was legendary, and this CD is just one of four VAI CDs that demonstrate why her Bach was so special. The others are of the Goldberg Variations (VAIA 1029); Partitas 1,2 and 6 (VAIA 1050); and Rosalyn Tureck Plays Bach: the Great Solo Works, Volume 1 (VAIA 1040). Glenn Gould is said to have admired Tureck's Bach. While I am always on the lookout for fine Bach performers (Murray Perahia, Angela Hewitt, Martha Agerich, Piotr Anderszewski, among others), Rosalyn Tureck takes Bach to another level.

The sound quality is very good.

Average customer rating:

4 discs of piano magic.
Performance -- 5; Recording -- 3
Spiritual
As clear as mud
Tureck: Well-Tempered Clavier by Bach

Bach: The Well-Tempered Clavier 1 & 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Rosalyn Tureck plays Bach
Bach: Goldberg Variations
Bach: Well-Tempered Clavier
Rosalyn Tureck plays Bach: The Great Solo Works
Johann Sebastian Bach: Goldberg Variations (CD plus score) - Rosalyn Tureck

ASIN: B000031X83
Release Date: 2000-02-08

Tracks:

The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 846 In C Major : Praeludium I
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 846 In C Major : Fuga I
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 847 In C Minor : Praeludium II
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 847 In C Minor : Fuga II
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 848 In C Sharp Major : Praeludium III
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 848 In C Sharp Major : Fuga III
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 5 voci), BWV 849 In C Sharp Minor : Praeludium IV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 5 voci), BWV 849 In C Sharp Minor : Fuga IV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 850 In D Major : Praeludium V
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 850 In D Major : Fuga V
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 851 In D Minor : Praeludium VI
The Well-Tempered Clavier - Books 1: Prelude & Fugue (a 3 voci), BWV 851 In D Minor : Fuga VI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 852 In E Flat Major : Praeludium VII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 852 In E Flat Major : Fuga VII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 853 In E Flat Minor : Praeludium VIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 853 In E Flat Minor : Fuga VIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 854 In E Major : Praeludium IX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 854 In E Major : Fuga IX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 2 voci), BWV 855 In E Minor : Praeludium X
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 2 voci), BWV 855 In E Minor : Fuga X
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 856 In F Major : Praeludium XI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 856 In F Major : Fuga XI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 857 In F Minor : Praeludium XII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 857 In F Minor : Fuga XII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 858 In F Sharp Major : Praeludium XIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 858 In F Sharp Major : Fuga XIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 859 In F Sharp Minor : Praeludium XIV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 859 In F Sharp Minor : Fuga XIV

Tracks:

The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 860 In G Major : Praeludium XV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 860 In G Major : Fuga XV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 861 In G Minor : Praeludium XVI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 861 In G Minor : Fuga XVI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 862 In A Flat Major : Praeludium XVII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 862 In A Flat Major : Fuga XVII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 863 In G Sharp Minor : Praeludium XVIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 863 In G Sharp Minor : Fuga XVIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 864 In A Major : Praeludium XIX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 864 In A Major : Fuga XIX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 865 In A Minor : Praeludium XX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 865 In A Minor : Fuga XX
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 866 In B Flat Major : Praeludium XXI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 3 voci), BWV 866 In B Flat Major : Fuga XXI
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 5 voci), BWV 867 In B Flat Minor : Praeludium XXII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 5 voci), BWV 867 In B Flat Minor : Fuga XXII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 868 In B Major : Praeludium XXIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 868 In B Major : Fuga XXIII
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 869 In B Minor : Praeludium XXIV
The Well-Tempered Clavier - Book 1: Prelude & Fugue (a 4 voci), BWV 869 In B Minor : Fuga XXIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 870 In C Major : Prelude I
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 870 In C Major : Fuga I
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 871 In C Minor : Praeludium II
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 871 In C Minor : Fuga II
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 872 In C Sharp Major : Praeludium III
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 872 In C Sharp Major : Fuga III
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 873 In C Sharp Minor : Praeludium IV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 873 In C Sharp Minor : Fuga IV

Tracks:

The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 874 In D Major : Praeludium V
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 874 In D Major : Fuga V
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 875 In D Minor : Praeludium IV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 875 In D Minor : Fuga IV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 876 In E Flat Major : Praeludium IIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 876 In E Flat Major : Fuga IIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 877 In D Sharp Minor : Praeludium IIIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 877 In D Sharp Minor : Fuga IIIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 878 In E Major : Praeludium IIIIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 878 In E Major : Fuga IIIIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 879 In E Minor : Praeludium X
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 879 In E Minor : Fuga X
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 880 In F Major : Praeludium XI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 880 In F Major : Fuga XI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 881 In F Minor : Praeludium XII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 881 In F Minor : Fuga XII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 882 In F Sharp Major : Praeludium XIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 882 In F Sharp Major : Fuga XIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 883 In F Sharp Minor : Praeludium XIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 883 In F Sharp Minor : Fuga XIVI

Tracks:

The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 884 In G Major : Praeludium XV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 884 In G Major : Fuga XV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 885 In G Minor : Praeludium XVI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 885 In G Minor : Fuga XVI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 886 In A Flat Major : Praeludium XVII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 886 In A Flat Major : Fuga XVII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 887 In G Sharp Minor : Praeludium XVIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 887 In G Sharp Minor : Fuga XVIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 888 In A Major : Praeludium XIX
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 888 In A Major : Fuga XIX
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 889 In A Minor : Praeludium XX
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 889 In A Minor : Fuga XX
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 890 In B Falt Major : Praeludium XXI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 890 In B Flat Major : Fuga XXI
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 891 In B Flat Minor : Praeludium XXII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 891 In B Flat Minor : Fuga XXII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 892 In B Major : Praeludium XXIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 4 voci), BWV 892 In B Major : Fuga XXIII
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 893 In B Minor : Praeludium XXIV
The Well-Tempered Clavier - Book 2: Prelude & Fugue (a 3 voci), BWV 893 In B Minor : Fuga XXIV

Amazon.com essential recording

This is the sort of set you start keeping score on, as positive and negative factors occur. The 1953 mono recording sounds every year of its age, so at four CDs for the price of three it's not a great bargain. Tureck writes at length in the booklet about her style of Bach playing and how it has changed over half a century, but she still endorses these performances. The listeners who respond best to them will probably be those hankering for the good old days when we didn't worry too much about issues of Baroque style. Tureck plays clearly and uses some proper ornaments, but she often romanticizes the music with slow tempos and extremes of dynamics. For every fugue she nails (like No. 12 in Book I) there are several that seem distended by modern standards. Even without the sparkling Feltsman edition for MusicMasters (recently deleted), there are several piano performances of the WTC available that will suit most tastes better, including the provocative and sometimes crazy Gould and the relatively straightforward Schiff. --Leslie Gerber

Customer Reviews:

4 discs of piano magic........2007-03-12

i'm just a country bumpkin, but i like to think i recognize greatness when i hear it. these mono recordings from 1953 have greatness all over them, to my ear. i see a couple of reviewers complain of the sound (not the performance) but to me the sound is fine. these are recordings from 1953 after all, and the somewhat archaic quality of the sound seems to add to the sense of music from another time and place that is thrilling, at least to me. there is so much warmth and heart to her playing that any technical matter regarding the transfer of the music from analog to digital is beside the point. this is simply stunning bach music brought to life by a master interpreter. get this by all means. then, if you want a recording of this material with a more updated technical sound quality, get till fellner's "das wohltemperierte klavier." that is wonderful, as well.

Performance -- 5; Recording -- 3.......2005-07-19

The Tureck recordings of the Well-Tempered Clavier are so old that they were originally released on monaural LPs. My first exposure to them -- and to Tureck -- was the re-released, enhanced-to-sound-like-stereo versions. Like this CD, the more recent LPs are based on old monaural recordings that show their age.

But for me, at least, the background hiss is worth it because I am entranced by Tureck's rendition of the Preludes and Fugues. Yes, many of them are slower than more recent recordings, and you can't hear her singing as prominently as if Glenn Gould were at the keyboard (oh wait...), but what I have not seen her critics mention below is her voicing: her ten fingers create three, or four, or even five independent lines in each of the fugues. Give a listen to the C# minor fugue from Book One for an example. Any 4-year-old can learn the four-note subject in four seconds. But this cathedral of a fugue, with its new multiple subjects introduced at the end of the "exposition", is a monster to play contrapuntally. All five voices are heard independently in this recording.

Tureck has the speed necessary to execute the brilliant preludes, as well; witness the D Major, d minor, and Bb Major fugues from Book One.

I confess I am not familiar with many of the other popular recordings of the WTC, so I have little to compare this recording to. However, I recommend this recording. I also recommend Tureck's recordings of the partitas, and the Goldberg variations.

Spiritual.......2002-06-28

Yes, there is tape hiss, but it's unobtrusive and should not hinder the musical appreciation of any true Bachian. As to tempi, Tureck has a feel for expressing the timeless quality of the WTC, and at her most successful, tempo concerns dissolve. Go to Gould for pianistic virtuosity and an ego that sometimes bruises phrases, other times lifts them to heights of expressive potential; to Fischer (on Naxos) for the personality, the character of each prelude and fugue; to Hewitt for dynamics of almost Lisztian vibrancy, and to Schiff if you want bland, generic vanilla Bach. But if you want your WTC to approach something of the spirtuality and depth of the Matthew Passion or the B-Minor Mass, go with Tureck. She invests every fiber of her apparently reverent soul into each note, a performance which the light of heart can confuse with ponderousness. In short, Tureck's WTC is a must for those who must have their Bach mean as well as say something. For them, considerations such as tape hiss are trivial.

As clear as mud.......2001-02-17

Tureck does a nice job of sculpting some of the Preludes, like the ones in C-sharp major and B-flat major from Book I, and seems to approach all of the pieces with real devotion. Overall, though, her playing tends to be heavy-handed and belabored. Although she exercises great control over the keyboard, she is less successful at holding the listener's interest and bringing the music to life. Slow tempi in Bach's keyboard works, which have been used to great effect by other pianists, turns the music to mush in Tureck's hands.

Tureck: Well-Tempered Clavier by Bach.......2000-10-26

This remastering of a 1953 DG recording is a treasure in that it captures one of the 20th century's Bach specialists at her prime. For Tureck or Bach groupies, this 4-CD release is perhaps a must-have. But, for the hiss... at some tracks a faint whisper and on other tracks a veritable steam leak. Outside of pirate recordings of that era, I've heard no other early 50's remastering with so much intrusive noise. The amount of hiss surprised me, particularly since this source came from an established, presigious recording compny. As for the liner notes, the proof is left to most American students, since the text is only in French and German. So, Ms. Tureck gets a "5" for her artistry and love of Bach, and Deutsche Grammaphone gets a "1" for an inconsistent technical recording, for an overall "3."

Average customer rating:

Tureck: the supreme priest of Bach
upgrade to 4 stars
get the osorio
A rare gem!
Absolutely Flawless !

Tureck: Live At The Teatro Colón

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Musettes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B000003LIX
Release Date: 1994-05-02

Tracks:

Adagio In G Major, BWV 968
Chromatic Fantasy And Fugue In D Minor, BWV 903
Sweet Remembrances (Songs Without Words, Op. 19, No. 1)
Moments Musicaux, Op. 94: No. 3 In F Minor
Moments Musicaux, Op. 94: No. 2 In A-Flat Major
Chaconne In D Minor, BWV 1004

Tracks:

Variations And Fugue On A Theme By Handel, Op. 24
Gigue (Partita No. 1 In B-Flat Major, BWV 825)
Variation No. 29 (Goldberg Variations, BWV 988)
Musette In D Major, S. Anh. 126 (Clavierbuchlein fur Anna Megdalena Bach)

Customer Reviews:

Tureck: the supreme priest of Bach.......2004-05-28

Rosalyn Tureck belongs to a reduced kind of artists beyond the standard. She belongs to the elite of Casals, Carreno, Furtwangler, Busoni, Kempff, Neveu, Schnabel, Fricsay and Nykolayeva,Sandor Vegh, among others.
His playing on Bach is so natural and fresh that lets you amazed. And that is a syntom of her deep commitment with the score. Her Bach bretahes, the sonority is filled with dyonisiac rapture, and sounds human even erotic. And I'm not kidding with this last statement.
In this live recording, Tureck shows us her high pianism level. One of the fundamentals aspects of the genius is the overwhelming singleness of its playing. The notes are not forced, flow, simply.
Buy this issue. It is a gem for collectors.

upgrade to 4 stars.......2003-03-08

a follow up. She is amazing in the Chaconne. Not as good as Alicia de Larrocha but close and live.

get the osorio.......2003-03-07

I bought this mainly for the Handel Variations. It must be one of the most difficult things to play live. She gives it her all and comes up lacking. But her Bach is great as usual.

I agree with the reviewer about the Ax and the Cliburn Handel Variations. Worth owning both of them, but if you want THE superior reading get the Osorio on some budget label. The best.

A rare gem!.......2002-02-25

A true artist in one of her most mature moments.
Thank you Rosalyn!

Absolutely Flawless !.......2002-02-25

A true artist in one of her most mature interpretations.
Thank you Rosalyn!

Average customer rating:

Very special
Overly Measured, overtly pedantic- despite the hype
Great pianist, great pieces

Rosalyn Tureck 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Maria Yudina
Claudio Arrau 3 (III) (Great Pianists of the Century series) - Chopin / Debussy / Granados / Liszt / Mozart / Schubert (2 CDs)
Samson François
András Schiff (Great Pianists of the Century series) - Bach / Mozart / Schubert
Grigory Ginsburg

ASIN: B00000JNQB
Release Date: 1999-07-20

Tracks:

'Goldberg' Variations, BWV 988 (Klavierubung IV): Aria
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation I. a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation II. a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation III. Canone all'Unisono a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation IV. a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation V. a 1 ovvero 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VI. Canone alla Seconda a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VII. a 1 ovvero 2 Clav. Al tempo di Giga
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VIII. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation IX. Canone alla Terza a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation X. Fughetta a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XI. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XII. Canone alla Quarta (a 1 Clav.)
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XIII. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XIV. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XV. Canone alla Quinta in moto contrario a 1 Clav. (Andante)
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XVI. Ouverture a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XVII. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XVIII. Canone alla Sesta a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XIX. a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XX. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XXI. Canone alla Settima (a 1 Clav.)
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XXII. Alla breve a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XXIII. a 2 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XXIV. Canone all'Ottava a 1 Clav.
'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation XXV. a Clav. (Adagio)

Tracks:

'Goldberg' Variations: Variation XXVI. a 2 Clav.
'Goldberg' Variations: Variation XXVII. Canone alla Nona a 2 Clav.
'Goldberg' Variations: Variation XXVIII. a 2 Clav.
'Goldberg' Variations: Variation XXIX. a 1 ovvero 2 Clav.
'Goldberg' Variations: Variation XXX. Quodlibet a 1 Clav.
'Goldberg' Variations: Aria
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 1. Ouverture
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 2. Courante
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 3. Gavotte I & II
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 4. Passepied I & II
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 5. Sarabande
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 6. Bourree I & II
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 7. Gigue
French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 8. Echo
Italian Concerto In F, BWV 971 (From: Klavierubung II): 1. (Allegro)
Italian Concerto In F, BWV 971 (From: Klavierubung II): 2. Andante
Italian Concerto In F, BWV 971 (From: Klavierubung II): 3. Presto
Four Duets (From: Klavierubung III): Duetto No. 1 In E Minor, BWV 802
Four Duets (From: Klavierubung III): Duetto No. 2 In F, BWV 803
Four Duets (From: Klavierubung III): Duetto No. 3 In G, BWV 804
Four Duets (From: Klavierubung III): Duetto No. 4 In A Minor, BWV 805

Amazon.com

Ever since a New York Times critic labeled Rosalyn Tureck the "high priestess of Bach," the epithet has stuck. It seems appropriate on several levels at once: not just for the sense of ritual that emerges from Tureck's interpretations--which can give the impression of a medium making contact--but in the cultlike devotion the Chicago-born pianist has inspired over a very long career, beginning as a prodigy in the '30s. Curiously enough, the young Tureck was also an exponent of modern music, and in 1930 actually premiered Léon Thérémin's electronic keyboard in Carnegie Hall. But it's with the music of Bach that Tureck has become inextricably linked, preserving her unique approach to this composer against the tides of fashion as well as the juggernaut of the "historically informed performance" movement--including her conviction of the validity of performing Bach's keyboard works on the piano (in one famous Carnegie Hall concert, she gave the entire Goldberg Variations twice, on harpsichord and then on piano).

The Goldberg Variations may well be the ultimate Tureck touchstone; of the six commercial recordings she's made throughout her career (the most recent was taped in 1997), this account was made in the Abbey Road Studios in 1957 and may well be her most compelling. Despite the tape hiss, the late '50s--when the other recordings here were made as well--are vintage Tureck years. The quintessential vision--with the trademark slow tempos that can make time seem to stand still, the wondrous clarity of line, the deep focus of mind--is all there, as well as Tureck's sparkling, exquisite pointing and amazing independence of hands. It's less surprising than it might seem at first that Tureck's polar opposite, Glenn Gould, prized her interpretations so highly. And while it may come across as too mannered--or even pedantic--to latter-day listeners, Tureck's patience bears fruit in the most inward of the variations and, most impressive, in the aria's return--in her own words, "one of the most sublime moments in all music." The set includes beautifully marbled accounts of the Partita BWV 831 and duets from the Klavierübung, as well as an exuberant realization of the Italian Concerto in F. These are performances to savor over and over. --Thomas May

Customer Reviews:

Very special.......2005-11-29

Rosalyn Tureck's playing here is quintessentially measured and impeccably controlled. This allows many special moments to shine through. The canons in the Goldberg Variations are particularly gentle yet rigorous, especially the minor-key ones. The transfer from the bleak Variation 21 to the sublimely joyful Variation 22, for instance, gains great unshakeability from her methodical and perfectionist stance. This is not her fastest recording of the Goldbergs - her 1979 recording on VAI has a little more kinetic thrill in Variations 14 and 26, for example - but this recording combines technical perfection with an all-encompassing joy in the music as it unfolds.

The remaining pieces are contrasting but also excellent. The B minor Partita begins with the sort of dotted French Overture that Tureck excels in, and the remaining movements are similarly commanding. She exacts great pathos from the Sarabande, while the Gavotte, Passepied and Bourrée are commendably dance-like and arresting. In the closing Echo, Tureck makes the most of Bach's explicit dynamic contrasts - rare in his output - for an exciting close. I haven't heard a more compelling recording of this long and somewhat disparate work.

The Italian Concerto has boisterous if somewhat heavy outer movements, while the central Andante exhibits Tureck's rich ornamentation and sense of line.

The Duets, rarely recorded, are here given a fairly definitive interpretation which manages to combine contrapuntal rigour with ear-opening textures, especially in the arresting harmonies of No. 4.

Altogether a wonderful exhibition of Tureck's art at possibly its most austere stage - but nevertheless captivating.

Overly Measured, overtly pedantic- despite the hype.......2004-03-22

I should start by saying I highly recommend Tureck's interpretation of Bach's partitas from the 1950's, on Volume I of this series. However, her goldberg variations, despite the hype, remain one of the worst in the recording canon.
It is far too measured, does not delight in the wonderful variety, and misses the point entirely. Bach's music is profoundly religious AND humanistic, delighting in life and reassuring us with his infinite sense of order and
optimism. Tureck, however, plays the variations so slowly and turgidly that one cannot see the forest for the trees. Her interpretation, though highly studied, does not do justice to the piece. I would go with Maria Yudina's
recording, in this same series. Hers is a proufound, enchanting, and sometimes even a bit agressive interpretation. Check it out. The three stars are for the other pieces in this recording. As for the Goldberg, again, there are better recordings. Her interpretation falls below the spirit of the music. Enough said.

Great pianist, great pieces.......2000-08-23

This recording is entitled "Great Pianists of the 20th Century," and that is the only way to describe Rosalyn Tureck's poised, measured and yet brilliantly executed performance of the Bach Goldberg Variations, some of the most time-honored music ever written for the instrument, by a great master of the style, Johann Sebastian Bach. There's really nothing more to say...everything on this recording is, well, great!

Average customer rating:

Bach: the Well-Tempered Clavier, Book 2

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

Improvisation | Forms & Genres | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music
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Bach: Well-Tempered Clavier, Book 1
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Bach: Well-Tempered Clavier, Book 2

ASIN: B00008OP29
Release Date: 2003-05-20

Tracks:

Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga

Tracks:

Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga

Tracks:

Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium
Fuga
Praeludium

Average customer rating:

musical truth
One of the great Bach performances on disc
Dancing in measured tread.
Bach the way Bach should be played
INCREDIBLE

Rosalyn Tureck

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Clara Haskil
Clara Haskil 2
Bach: Goldberg Variations
Leopold Godowsky

ASIN: B00000HY8H
Release Date: 1999-01-12

Tracks:

Partita No. 1 In B Flat, BWV 825: Praeludium
Partita No. 1 In B Flat, BWV 825: Allemande
Partita No. 1 In B Flat, BWV 825: Corrente
Partita No. 1 In B Flat, BWV 825: Sarabande
Partita No. 1 In B Flat, BWV 825: Menuet I & II
Partita No. 1 In B Flat, BWV 825: Giga
Partita No. 3 In A Minor, BWV 827: Fantasia
Partita No. 3 In A Minor, BWV 827: Allemande
Partita No. 3 In A Minor, BWV 827: Corrente
Partita No. 3 In A Minor, BWV 827: Sarabande
Partita No. 3 In A Minor, BWV 827: Burlesca
Partita No. 3 In A Minor, BWV 827: Scherzo
Partita No. 3 In A Minor, BWV 827: Gigue
Partita No. 6 In E Minor, BWV 830: Toccata
Partita No. 6 In E Minor, BWV 830: Allemande
Partita No. 6 In E Minor, BWV 830: Corrente
Partita No. 6 In E Minor, BWV 830: Air
Partita No. 6 In E Minor, BWV 830: Sarabande
Partita No. 6 In E Minor, BWV 830: Tempo di gavotta
Partita No. 6 In E Minor, BWV 830: Gigue

Tracks:

Partita No. 2 In C Minor, BWV 826: Sinfonia
Partita No. 2 In C Minor, BWV 826: Allemande
Partita No. 2 In C Minor, BWV 826: Courante
Partita No. 2 In C Minor, BWV 826: Sarabande
Partita No. 2 In C Minor, BWV 826: Rondeaux
Partita No. 2 In C Minor, BWV 826: Capriccio
Partita No. 4 In D, BWV 828: Ouverture
Partita No. 4 In D, BWV 828: Allemande
Partita No. 4 In D, BWV 828: Courante
Partita No. 4 In D, BWV 828: Aria
Partita No. 4 In D, BWV 828: Sarabande
Partita No. 4 In D, BWV 828: Menuet
Partita No. 4 In D, BWV 828: Gigue
Partita No. 5 In G, BWV 829: Praeambulum
Partita No. 5 In G, BWV 829: Allemande
Partita No. 5 In G, BWV 829: Corrente
Partita No. 5 In G, BWV 829: Sarabande
Partita No. 5 In G, BWV 829: Tempo di minuetto
Partita No. 5 In G, BWV 829: Passepied
Partita No. 5 In G, BWV 829: Gigue

Amazon.com essential recording

This collection of Rosalyn Tureck's Bach partitas was, until now, a long-sought gem. The recordings, dating from the 1950s and recorded for EMI, have won praise from all corners for their mix of erudition and comfortable, at-ease command. Tureck, one of the century's great piano prodigies, was able to sight-read and memorize Bach solo works as a child. As an adult (she was in her 40s when she recorded these selections), she takes each partita at a studied pace, as if the inner pedagogue in her were monitoring its unfurling for exactness.

Where Glenn Gould claimed a good chunk of Bach's work with dazzling virtuosity, Tureck's full comprehension of the weave among Bach's lines, which even at the height of their complexity sound wrapped in tonal warmth and in the process of being constructed bit by bit, leaves an indelible impression. She at once uncloaks the constituent elements of the partitas--dance pieces, for the most part--and then reveals how their parts add up to more than the whole of the performance. --Andrew Bartlett

Customer Reviews:

musical truth.......2006-10-23

any question of authenticity - bach on the piano? - would simply miss the point. is the instrument the thing or the message?
these are inspirational performances, played with a sensitivity and lucidity that penetrate the depths of bach's music like few others. they should be heard by all lovers of the greatest of all composers.

One of the great Bach performances on disc.......2005-06-18

A number of other reviewers have alluded to the beauty of tone, "religous" quality, wholeness and profound sense of completeness and rightness of these performances. I wholeheartedly agree. Once I received this disc I simply could not stop playing it. The recordings are mono and date from the 1950s so they don't sound like modern digital recordings but the tone of the pianist and of the instrument have real beauty. I find these recordings have an inwardness and sense of profound rightness about them. The pianist has both a strong shaping personality yet allows the music to somehow speak for itself. While all the constituent parts are revealed, the whole certainly adds up to more than their sum. A joyous listening experience. If you respond to these performances you will treasure them for life.

Dancing in measured tread. .......2004-10-19

With Bach's music, a wide range of performing media and styles can seem valid. Personal preferences and a good ear will decide which one way or which many ways one likes to hear, for example, the keyboard partitas that comprise this release in the "Great Pianists of the 20th Century" series.

I have become fascinated by the light, air, reflection and "vocalizing" that Rosalyn Tureck reveals in these works. I don't find the frenetic pianism of Glenn Gould nor the rhythmic buoyancy that Wanda Landowska could command, but I admire and respect Tureck's work in allowing these dances time to make their effect.

Time ran out when it came to accommodating these performances from the 1950s onto two CDs. Madame Tureck gave permission for the repeats in one of the sarabandes to be omitted in this 1998 reissue.

Bach the way Bach should be played.......2002-06-21

I own this CD set and disagree with the other reviewer here who claimed (twice) that there is hiss on these digital recordings. More likely it is his stereo that is introducing the noise, not the recording. And if the packaging scratches the CDs then put it in a jewel case or a mega-changer and stop complaining!

Turek sets a 'reflective' pace on these quality Philips recordings of Bach's partitas, just as they should be played. Bach is not supposed to be played at blazing speeds. That's like spending your vacation driving in your car at 65mph and watching the scenery fly by. Bach's music employs the most natural, organic chords. And so they should be played at a tempo where one can actually *listen* to the melodies and harmonies as they arise, linger and fade. Turek was clearly feeling what she played, as she played it.

A highly recommended recording from EMI Classics.

INCREDIBLE.......2002-02-12

I don't know what these reviewers are talking about. First of all the package is by Philips not Sony. I don't hear any hiss at all when I listen to it (is this reviewer talking about the right one?) Also I think the comparison with Gould is bad. These partitas made little impression on me when I heard Gould play them. When I heard Tureck play them it was like a revelation. She plays Bach with a soul, they breath and live. Listening to these recordings brings in euphoria. These recordings are some of the most beautiful I have in all my piano cds. They are like magic. I have lots of other Bach cds including Gould and Fischer, but these partitas are what I come back to again and again. I don't want to criticize Gould on Bach because he is a genius; but if all you heard is Gould then you don't know Bach. Gould and Tureck play Bach differently and they are both worth hearing. Sorry my personal preference for Bach is this CD, It is my favorite. Strongly recommended.

The Rosalyn Tureck Collection, Vol. 4: Harpsichord Recital All Bach Program

Average customer rating:

The Rosalyn Tureck Collection, Vol. 4: Harpsichord Recital All Bach Program

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Rosalyn Tureck plays Bach

ASIN: B000003LLI
Release Date: 1997-01-21

Tracks:

The Well-Tempered Clavier, Book II: C Minor (BWV 871) Prelude
The Well-Tempered Clavier, Book II: C Minor (BWV 871) Fugue
The Well-Tempered Clavier, Book II: G Major (BWV 884) Prelude
The Well-Tempered Clavier, Book II: G Major (BWV 884) Fugue
The Well-Tempered Clavier, Book II: G Minor (BWV 885) Prelude
The Well-Tempered Clavier, Book II: G Minor (BWV 885) Fugue
The Well-Tempered Clavier, Book II: C Sharp Minor (BWV 872) Prelude
The Well-Tempered Clavier, Book II: C Sharp Minor (BWV 872) Fugue
The Well-Tempered Clavier, Book II: A Minor (BWV 889) Prelude
The Well-Tempered Clavier, Book II: A Minor (BWV 889) Fugue
Chromatic Fantasie And Fugue (BWV 903)
The Well-Tempered Cavier, Book I: D Major (BWV 850) Prelude
The Well-Tempered Cavier, Book I: D Major (BWV 850) Fugue
The Well-Tempered Cavier, Book I: F Sharp Major (BWV 858) Prelude
The Well-Tempered Cavier, Book I: F Sharp Major (BWV 858) Fugue
The Well-Tempered Cavier, Book I: B Flat Major (BWV 866) Prelude
The Well-Tempered Cavier, Book I: B Flat Major (BWV 866) Fugue
The Well-Tempered Cavier, Book I: C Sharp Major (BWV 848) Prelude
The Well-Tempered Cavier, Book I: C Sharp Major (BWV 848) Fugue
Italian Concerto (BWV 971)(No Tempo Marking)
Italian Concerto (BWV 971): Andante
Italian Concerto (BWV 971): Presto
Encore: Variation No.29 From Goldberg Variations (BWV 988)

Average customer rating:

Sublime and Surprising

Rosalyn Tureck Live in St. Petersburg

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Musettes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000009LO2
Release Date: 1996-03-16

Tracks:

Adagio In G Major (BWV 968)
Cappriccio sur le drt du fr (BWV 992): Friends Gather And Try To Dissuade Him From Departing
Cappriccio sur le drt du fr (BWV 992): They Picture The Dangers Which May Befall Him
Cappriccio sur le drt du fr (BWV 992): The Friends' Lament
Cappriccio sur le drt du fr (BWV 992): Since He Cannot Be Dissuaded, They Say Farewell
Cappriccio sur le drt du fr (BWV 992): Aria Of The Postilion
Cappriccio sur le drt du fr (BWV 992): Fugue In Imitation Of The Postilion's Horn
Aria And Ten Variations In The Italian Style (BWV 989): Aria
Aria And Ten Variations In The Italian Style (BWV 989): Variation I
Aria And Ten Variations In The Italian Style (BWV 989): Variation II
Aria And Ten Variations In The Italian Style (BWV 989): Variation III
Aria And Ten Variations In The Italian Style (BWV 989): Variation IV
Aria And Ten Variations In The Italian Style (BWV 989): Variation V
Aria And Ten Variations In The Italian Style (BWV 989): Variation VI
Aria And Ten Variations In The Italian Style (BWV 989): Variation VII
Aria And Ten Variations In The Italian Style (BWV 989): Variation VIII
Aria And Ten Variations In The Italian Style (BWV 989): Variation IX
Aria And Ten Variations In The Italian Style (BWV 989): Variation X
Chromatic Fantasia And Fugue (BWV 903): Fantasia
Chromatic Fantasia And Fugue (BWV 903): Fugue
Partita No.2 In C Minor (BWV 826): Sinfonia
Partita No.2 In C Minor (BWV 826): Allemande
Partita No.2 In C Minor (BWV 826): Courante
Partita No.2 In C Minor (BWV 826): Sarabande
Partita No.2 In C Minor (BWV 826): Rondeau
Partita No.2 In C Minor (BWV 826): Capriccio
Prde In E-Flat Minor (BWV 853)
Musette In D Major (S. Anh. 126)

Customer Reviews:

Sublime and Surprising.......2006-12-11

Having played for over 35 years I purchased this DVD because Ms Tureck had specialized in Bach. The precision required with Bach often leaves many recitalists unable to fully express themselves and be loyal to the music. Ms Tureck dropped my jaw from the first note. Her timing is so sublime that even if you know the piece very well the next notes seem to surprise you. This is a performance where it all comes together for her and I can imagine that Bach himself would approve. The only downside is the limited video angles but this is a very small thing when compared to her subtle touch. In short, some of the most beautiful music I have ever heard.

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